Infancia y desestructuración familiar en el cine de hirokazu koreedaNadie sabe, milagro y de tal padre, tal hijo

  1. Echart, Pablo 1
  2. Muñoz-Garnica, Miguel
  1. 1 Universidad de Navarra
    info

    Universidad de Navarra

    Pamplona, España

    ROR https://ror.org/02rxc7m23

Revista:
Fotocinema: revista científica de cine y fotografía

ISSN: 2172-0150

Any de publicació: 2017

Títol de l'exemplar: Texto(s) y pantalla(s): relaciones intermediáticas y procesos de adaptación.

Número: 14

Pàgines: 313-339

Tipus: Article

DOI: 10.24310/FOTOCINEMA.2017.V0I14.3603 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

Altres publicacions en: Fotocinema: revista científica de cine y fotografía

Resum

This article examines how childhood is adressed in the Hirokazu Koreeda’s films Nobody Knows, I Wish and Like Father, Like Son. Being identifiable as inheritances of the original Japanese homu dorama —or home drama— films, they constitute an homogeneous corpus to explore the issue of family destructuring from a childish perspective. This issue happens to be a main plot motif in the filmography of the japanese director. Using a textual analysis supported by particularly expressive scenes this article explores, first, how the protagonist children physically and emotionally face this traumatic experience: their isolation before their parents, their yearning for them and their efforts to regenerate the family ties. All of these are constant tropes in the identified films. Second, this article analyses two archetypes produced by family destructuring: the inmature adult and the adult-child. Finally, Koreeda’s knowing look to children is made clear in the exceptional capacity of creating strong bonds that he attributes to them. This fact reinforces another thematic constant in his ouvre: the conception of family as an institution supported by affective more than blood ties

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Fuente de los datos: Dialnet